The field covered by this volume includes the work and influence of foreign-born painters such as Holbein and Van Dyck as well as native masters from Gower and Milliard to Gainsborough, Stubbs, and Sandby. We can follow step by step the development and flowering of British painting, and can compare, for example, the work of the English Sir Joshua Reynolds with the Scottish Allan Ramsay. Portrait and landscape, history piece, miniature, watercolour, there is a record of them all. The text is both scholarly and readable and the illustrations include well known examples of British painting and others seldom or never before reproduced between the covers of a book. This is the fifth edition of this work, newly enhanced with colour illustrations.

The field covered by this volume includes the work and influence of foreign-born painters such as Holbein and Van Dyck as well as native masters from Gower and Hilliard to Gainsborough, Stubbs, and Sandby. We can follow step by step the development and flowering of British painting, and can compare, for example, the work of the English Sir Joshua Reynolds with the Scottish Allan Ramsay. Portrait and landscape, history piece, miniature, water colour, there is a record of them all. The text is both scholarly and eminently readable and the illustrations comprise well known examples of British painting and others seldom or never before reproduced between the covers of a book. This new edition includes an introductory essay by Michael Kitson bringing readers up-to-date with the latest approaches to the period, as well as colour plates and a revised bibliography.

El Greco, Ribera, Velázquez, Murillo--these are but a few of the great sixteenth- and seventeenth-century artists of Spain's golden age of painting. In this authoritative and handsome book, an enlarged, extended, and revised version of his Golden Age of Painting in Spain, eminent Spanish art scholar Jonathan Brown surveys the development of painting in Spain during this fascinating period. Focusing on the interaction between art and the socioeconomic and political conditions that prevailed in Spain's golden age, this book offers information about religious beliefs, social attitudes, the activities of patrons and collectors, and how these were absorbed and interpreted by painters. The author sets the history of Spanish paintings within a European context and explores Spain's contact with artistic centers in Italy and the Netherlands. He discusses not only Spanish artists but also such non-Spanish painters as Titian, Ruben, and Luca Giordano, who either worked in Spain or influenced other artists there. Brown also examines the collections of foreign paintings that Spanish noblemen and prelates assembled and how these collections affected the production of art and the social status of the Spanish artist. In this up-to-date and innovative analysis of two hundred years of Spanish painting, Brown describes a country that brilliantly transformed the artistic impulses it received from abroad to fit the needs of its own society.

Covering the period between the late 16th century through to the third quarter of the 19th century, this book features paintings by English, Scottish, Welsh and Irish artists which are part of the collection of the Metropolitan Museum of Art.

In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.

A Guide to Eighteenth-Century Art offers an introductory overview of the art, artists, and artistic movements of this exuberant period in European art, and the social, economic, philosophical, and political debates that helped shape them. Covers both artistic developments and critical approaches to the period by leading contemporary scholars Uses an innovative framework to emphasize the roles of tradition, modernity, and hierarchy in the production of artistic works of the period Reveals the practical issues connected with the production, sale, public and private display of art of the period Assesses eighteenth-century art’s contribution to what we now refer to as ‘modernity’ Includes numerous illustrations, and is accompanied by online resources examining art produced outside Europe and its relationship with the West, along with other useful resources